OH WHAT A DIFFERENCE A DIFFERENCE MAKES:
GENDER IN THE VISUAL ARTS--page 7

FOOTNOTES

1Ribiero only sees gender roles being inculcated in females, whereas the young boys just get to play. I think gender roles for both sexes are suggested in the painting.

2 Judy Chicago says: "Manet is always an ambiguous artist, and consequently his version of Nana, like the more famous painting Olympia, has been subjected to a variety of different readings. Some commentators see both pictures as exploitive; others, like myself, disagree, and perceive irony directed at standard masculine attitudes, mingle with sympathy for the position of women" (108).

3 As Anne Chen notes, "at the conjunction of racial and gender discrimination stands the woman of color, for whom 'beauty' presents a vexing problem both as judgment and solution. That is, between a feminist critique of feminine beauty and a racial denial of nonwhite beauty, where does this leave the woman of color? Can she or can she not be beautiful? Is her beauty (or potential for beauty) good or evil? It is unclear whether assenting to the prospect of a 'beautiful woman of color' would be disruptive of racial discourse or complicit with gender stereotypes. The demands and judgments of racial and gender politics are not necessarily as compatible as they initially appear. The question of beauty for a woman of color is thus fraught with competing demands."

WORKS CITED

Arker, Emma. "Women Artists and the French Academy: Vigée-Lebrun in the 1780s." In Gender and Art. Edited by Gill Perry. New Haven: Yale University Press, 1999. 108-127.